Ah yes, the week I catch up on Oscar movies. Up first, the one with oner
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Ooooooh. I don't read before I write, but I'll check out after! (or if I stop)
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IT'S TIME TO DISCUSS THE NEXUS OF CINEMATIC LANGUAGE. AGAIN.
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oh ... I liked 1917 so much better than BIRDMAN, or really anything else Iñárritu has ever made. Mendes has a much more sentimental touch.
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Oh dont get me wrong, same- its amount the instinct to continue a scene for no reason other than the dare of elegance
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Never change
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You know I can't.
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Just because something works doesn't mean it couldn't achieve the same effect, nay, work 100 times better with a different approach.
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everyone wants to talk about the oner but what's way more fascinating to me is i feel like the camera switched between being relatively point-of-view and *very* voyeristic on a dime, in a way that I still don't know how I feel about
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